■^mi^c^S^'ilB^--—- 


'^ertryntaami 


GREAT  ENGRAVERS  :  EDITED  BY  ARTHUR  M.  HIND 


Mb2cci)t  ©iirer  £ontcrfc>t  iin  fciiicmalttcr 


PORTRAIT  OF  ALBRECHT  DURER 


Woodcut  of  the  School  of  Diirer.    B.  156 


/I 


/      /  — 


ALBRECHT  DURER 


Art  Library 


Second  son  of  Albrecht  DUrer,  goldsmith  (d.  1502),        "V^VVC-~5^ 

and  Barbara  Helper;  born  at  Nuremberg,  May   21,         vU^  \  «— 'O 

1471  ;   pupil  of  liis  father   and  of  the  painter  Michel 

Wolgemut,  1486-1489  ;  travelled  1490-1494,  visiting 

Colmar,  Basle,   and  probably  Strasburg  ;  returned  to 

Nuremberg  in  May,  and  married  Agnes  Frey,   July 

1494  ;  visited  Venice,  probably  towards  the  end  of  the 

same  year,  being  at  home  again  in  1495  ;  paid  a  second 

visit  to  Venice  1 505-1507;  except  for  a  journey  to 

the  Netherlands,  1 520-1 521,  remained  at  Nuremberg 

for  the  rest  of  his  life  ;  died  April  6,  1528. 

LIKE  most  of  his  predecessors  in  engraving,  Diirer  was  brought 
up  as  a  goldsmith,  and  it  was  this  tradition  which  did  most  in 
directing  the  channel  and  shaping  the  character  of  his  art.  He 
turned  to  painting  quite  early,  and  Germany  has  produced  no 
greater  painter,  but  it  is  as  an  engraver  and  designer  for  woodcut 
that  he  holds  the  really  unique  place  in  art.  His  contemporary, 
Hans  Holbein  the  younger,  was  unquestionably  the  greater  painter, 
but  Holbein's  work  for  engraving  (the  Old  Testament  Illustrations  and 
the  Dance  of  Death^  which  will  be  completely  illustrated  in  another 
volume  of  this  series)  cannot,  in  spite  of  its  unique  style  and  charm, 
compare  with  Dilrer's  for  greatness  of  design  and  conception. 

As  an  engraver,  Diirer  worked  directly  on  the  copper,  but  in  the 
case  of  his  woodcut,  it  is  fairly  certain  that  he  was  only  responsible 
for  the  drawing  of  the  design  on  the  block.  The  block-cutters 
in  DUrer's  day  were  of  a  different  class  to  the  engraver  and  gold- 
smith, and  their  work  was  so  much  a  mere  matter  of  faithful 
translation  of  the  lines,  that  the  mechanical  factor  of  cutting  on 
the  wood  is  of  very  secondary  importance.  In  fact,  with  woodcut 
in  which  there  is  any  complexity  of  design,  I  feel  that  the  artist 
would  sacrifice  spontaneity  if  he  is  submitted  to  the  drudgery  of 
clearing  away  the  negative  parts  cf  the  design.  Treated  as  pure 
design,  DUrer's  woodcuts  form  the  noblest  part  of  his  whole 
work.  There  is  a  large  simplicity  in  the  line  (seen  at  its  best 
in  later  work  such  as  the  Last  Supper^  Lxiv),  which  one  some- 
times lacks  in  the  elaboration  of  the  line-engraving.  But  even  in 
his  most  elaborately  finished  plates,  Diirer  never  let  the  quality  of 
line  be  lost  in  the  attempt  to  render  mere  tonic  values.  This  tendency 
to  submerge  the  natural  quality  of  the  engraved  line  in  the  general 

5 


GREAT  ENGRAVERS 

tone  accounts  for  many  of  the  supreme  pieces  of  bravoure  of  the 
century  that  followed  Diirer,  but  sounds  at  the  same  time  an  ill- 
omened  note  to  the  truly  artistic  limits  and  conventions  of  line- 
engraving.  If  Diirer  comes  near  the  border-line,  it  is  in  some  of  the 
plates  of  his  middle  period  [e.g.  the  Firgin  seated  by  a  Town  Wall^ 
PI.  xxvii),  where  the  rendering  of  surface  texture  is  carried  so  far  ; 
and  if  he  ever  elaborates  too  much  and  overloads  with  detail,  it  is  in 
such  pieces  as  the  ^t.  'Jerome  in  his  Study  (xxiv)  of  the  same 
period.  But  in  his  latest  work  in  engraving,  as  in  woodcut,  he  comes 
back  to  a  simplicity  of  treatment  that  makes  a  print  like  the 
St.  Christopher  (xxxii)  so  absolute  a  masterpiece  and  so  perfect  a 
model  of  what  line-engraving  technically  should  be. 

The  less  experienced  amateur  may  be  helped  to  a  clearer  apprecia- 
tion of  Diirer's  place  in  art,  if  we  take  this  opportunity  of  interpolating 
a  short  survey  of  the  development  of  engraving,  and  some  description 
of  the  various  processes. 

There  is  no  evidence  to  show  that  impressions  were  ever  taken 
on  paper  from  cut  or  engraved  blocks  or  plates  before  the  late  four- 
teenth century,  and  very  little  probability  of  any  general  practice  of 
engraving  for  the  sake  of  taking  prints  before  the  fifteenth.  Wood- 
blocks were  cut  and  used  for  impressing  patterns  on  textiles  at  an 
earlier  period,  and  it  is  the  craft  of  these  pattern-block  cutters  that 
was  the  cradle  of  the  art  of  woodcut. 

In  woodcut  the  printing  is  from  the  surface,  and  little  pressure  is 
needed  to  transfer  the  ink  ;  in  fact,  in  the  earlier  stages  of  the  art, 
hand  pressure  directly  applied  to  the  back  of  the  block  laid  face 
downwards  on  the  paper,  or  the  method  of  rubbing  the  back  of  the 
paper  laid  on  the  face  of  the  block  with  a  flat  piece  of  wood,  or 
leather  ball,  sufficed  to  give  a  clear  enough  result.  The  process  of 
cutting  necessitates  the  removal  by  the  knife  of  the  white  parts  of  the 
design,  leaving  the  lines  standing  in  relief,  a  process  more  or  less 
laborious  according  to  the  amount  of  close  work  or  crossing  of  lines 
(cross-hatching).  It  is  only  at  a  later  period  when  greater  use  was 
made  of  a  white  line  on  a  black  ground  that  the  graver  (or  burin),  the 
original  tool  of  the  line-engraver,  was  also  used  to  any  extent  on  wood. 

In  line-engraving,  on  the  other  hand,  the  lines  to  print  black  are 
the  furrows  ploughed  up  by  pushing  the  graver  before  the  hand 
through  the  surface  of  the  copper.  The  graver  is  a  short  steel  rod 
of  square  or  lozenge  section,  with  cutting-point  and  edges  obtained 
by  sharpening  the  head  in  an  oblique  section.  The  furrows  are 
filled  with  ink,  the  surface  of  the  plate  wiped  clean,  and  damp  paper 
6 


ALBRECHT  DURER 

forced  into  the  lines  by  great  pressure  (obtained  by  a  double  roller- 
press)  to  pull  out  the  ink.  In  the  surface  printing  from  a  woodcut 
there  is  naturally  little  depth  of  ink  on  the  impression  ;  it  is  like  a 
pen  drawing  with  an  added  regularity  of  tone.  But  the  impressions 
from  an  engraved  plate  show  the  ink  in  more  or  less  high  relief 
according  to  the  depth  of  the  line  from  which  the  ink  was  pulled,  a 
remark  which  applies  to  all  the  other  intaglio  processes,  such  as 
etching  and  dry-point.  Printing  from  intaglio  plates  with  its  less 
immediately  evident  process  was  not  introduced  until  considerably 
later  than  the  printing  of  woodcuts,  probably  not  until  the  second 
quarter  of  the  fifteenth  century.  In  this  case,  the  art  was  the 
offspring  of  the  craft  of  the  goldsmiths,  by  whom  engraving,  as  a 
method  of  decoration  in  itself,  had  been  practised  throughout  the 
Middle  Ages  as  well  as  in  Antiquity.  If  the  line-engraver  owed  any 
of  his  inspiration  to  the  woodcutter  (who  sprang  from  an  entirely 
different  class  and  belonged  to  a  different  guild,  that  of  the  wood- 
carvers  and  joiners),  it  could  have  been  little  but  the  suggestion  of 
duplicating  his  designs  through  the  medium  of  the  press. 

In  dry-point,  the  artist  obtains  his  furrow  on  the  copper  by 
scratching  the  surface  with  a  steel  point  sharpened  in  the  form  of  a 
pencil.  He  does  not  push  his  tool  before  his  hand  like  the  graver, 
but  draws  with  it  as  with  a  pencil,  scratching  with  more  or  less 
pressure  according  to  the  required  depth  of  line.  An  essential 
factor  in  the  dry-point  process  is  the  ridge  of  copper  thrown  up  at 
the  side  of  the  line.  This  curved  ridge  holds  the  ink,  and  enwraps 
the  lines  in  a  dark  cloud-like  effect  called  burr.  This  burr  is  very 
delicate  and  soon  worn  down  in  the  printing,  so  that  plates  treated 
in  this  manner  can  only  yield  a  very  small  number  of  good 
impressions.  Burr  is  also  thrown  up  at  the  side  of  the  line  by  the 
graver  (and  may  often  be  seen  in  unfinished  outline  proofs  of  line- 
engravings),  but  one  of  the  virtues  of  line-engraving  is  clear 
distinction  of  line,  and  the  ridge  of  metal  is  always  scraped  away 
before  the  completion  of  the  plate. 

Etching  is  an  intaglio  process  where  the  furrow  is  obtained  by 
the  use  of  acid  ;  a  method  which  seems  to  have  had  its  origin  in 
the  armourers'  workshops.  The  plate  is  first  covered  with  a  thin 
"ground  "  (or  coating  of  wax  composition),  and  the  artist  draws  the 
lines  through  this  ground  with  a  needle,  exposing  the  surface  of  the 
plate  where  it  is  to  be  bitten  (etched,  i.e.  eaten)  by  the  acid.  The 
resistance  to  the  needle  in  drawing  through  the  ground  is  so  slight 
that  the  etcher  works  with  the  freedom  of  the  draughtsman,  with 

7 


GREAT  ENGRAVERS 

the  result  that  etching  is  characterised  by  spontaneity  of  expression 
as  against  the  studied  formalism  of  line-engraving. 

Diirer's  work  on  copper  is  chiefly  limited  to  line-engraving,  but 
he  also  left  a  few  plates  in  etching  and  dry-point.  With  dry-point 
he  had  an  immediate  predecessor  in  the  anonymous  Master  of  the 
Amsterdam  Cabinet  (as  he  is  called  from  the  locality  of  the  largest 
collection  of  his  prints),  an  artist  more  abounding  in  vitality  of  expres- 
sion than  any  other  engraver  of  the  fifteenth  century. 

One  of  Diirer's  three  dry-point  plates,  the  St.  Jerome  by  the  TVillow 
Tree  (xxi)  was  so  successful  that  it  is  a  matter  of  wonder  why  the 
process  was  so  little  used  by  Durer,  or  in  fact  any  other  engraver, 
until  the  time  of  Rembrandt,  a  century  later.  But  Diirer's  aims  were 
more  in  harmony  with  the  clear  line  than  with  the  vague  suggestions 
of  tone  and  atmosphere  given  by  dry-point,  and  perhaps  the  small 
number  of  good  impressions  which  a  good  dry-point  yields  may  also 
account  for  Durer's  avoidance  of  a  method  which  could  not  pay  him 
so  well  in  the  market  (and  he  was  always  the  most  practical  of  men). 

Etching  gives  the  clear  line,  as  in  line-engraving,  but  here  again 
Diirer  may  have  felt  the  comparative  coarseness  of  the  medium  that 
he  used,  for  all  his  six  etchings  are  on  iron.  Why  he  did  not  try  to 
etch  on  copper  is  curious,  for  the  same  mordant  would  act  on  either 
metal ;  but  as  the  etcher's  suggestion  came  from  the  armourers,  iron 
may  have  seemed  the  more  natural  material. 

An  etching  by  Urs  Graf  bears  the  date  1513,  and  some  of  those  by 
the  Hopfers  (a  famous  Augsburg  family  of  armourers)  possibly  belong 
to  the  preceding  decade;  but  that  being  said,  Durer's  etchings,  which  all 
date  between  1 5 1 5- 1 5 1 8,  are  among  the  earliest  works  in  this  process. 

The  plates  that  are  given  to  illustrate  Diirer's  work  on  metal  and 
wood  are  arranged  in  two  chronological  series,  and  will  show  better 
than  any  description  the  natural  progress  of  his  style.  The  early 
work  is  essentially  Gothic  in  its  tendency  to  the  pointed  and  angular, 
the  direct  offspring  of  the  style  of  his  master  Wolgemut  and  the 
artistic  entourage  of  his  native  town.  The  background  in  the 
engraving  of  St.  Anthony  (xxx)  is  made  up  of  a  variety  of  sources, 
but  it  gives  us  the  Gothic  flavour  of  the  Bavarian  city  more  truly  than 
any  accurate  topography.  Diirer  always  remained  a  true  Nurem- 
berger  at  heart,  but,  like  Rembrandt,  he  was  susceptible  to  the  best 
influences  of  Italian  art  in  relation  to  form,  spacing,  and  composition. 
He  gradually  freed  himself  from  the  medieval  "fantasy  devoid  of 
form  and  foundation"  which  disfigured  his  early  work  as  it  does  so 
much  of  the  fifteenth-century  engraving  north  of  the  Alps.  And  he 
managed  to  ennoble  his  art  by  an  appreciation  and  adoption  of  Italian 
8 


ALBRECHT  DURER 

standards  of  form  and  beauty  without  falling  a  victim  to  their  more 
local  and  superficial  qualities,  and  without  sacrificing  the  inherent 
Teutonism  of  his  nature. 

It  is  not  for  expression  in  relation  to  human  emotion  that  we  go 
to  Diirer.  Here  Rembrandt  will  always  touch  us  far  more  deeply. 
But  while  Rembrandt  spent  the  deepest  feeling  of  which  he  was 
capable  on  his  artistic  creation,  Diirer  seems  to  have  reserved  a  large 
part  of  the  expression  of  his  spiritual  energies  for  the  strenuous  life 
and  thought  of  the  Reformation.  He  was  the  friend  of  Luther  and 
Melancthon,  and  the  latter  used  to  say  of  him  that  "  though  he 
excelled  in  the  art  of  painting,  it  was  the  least  of  his  accomplish- 
ments." As  a  man  he  must  have  been  a  splendid  type  of  the  national 
character  ;  this  division  of  interest,  nevertheless,  may  have  drained 
something  of  the  spiritual  force  that  might  have  lived  more 
permanently  and  effectively  in  his  creative  work. 

But  art  is  not  so  directly  concerned  with  the  expression  of  human 
emotion  or  with  the  understanding  of  life  as  with  the  presentation 
of  beauty  ;  and  beauty,  less  in  the  sense  of  grace  of  form  or 
feature  (in  which  Diirer  could  hardly  claim  attainment)  than  in  the 
absolute  harmony  with  which  the  various  elements  from  life  are 
combined  in  the  artist's  composition.  In  this  harmony,  and  in  the 
conscious  thought  with  which  every  line  is  laid  in  a  relation  seemingly 
so  absolute  that  we  can  imagine  no  detail  altered  without  disturbing 
the  balance  of  the  whole,  Diirer  was  a  supreme  artist.  Here  and 
there  Diirer's  subjects  strike  a  more  humanly  expressive  note,  as  in  the 
woodcut  of  Christ  saying  Farewell  to  His  Mother  (li),  or  in  the 
intense  spiritual  atmosphere  that  holds  one  spellbound  in  the 
Melancholia  (xxxiii),  but  in  general  his  aim,  like  that  of  the  great 
sculptors,  has  essentially  to  do  with  the  outward  form  of  things. 

From  his  work  we  obtain  an  increased  sense  of  the  beauty  and 
dignity  of  life,  and  the  restlessness  of  thought  and  uncertainty  of 
artistic  dogma  and  convention  so  common  at  the  present  time  could 
find  no  better  antidote  than  the  balanced  style  and  intense  conviction 
that  characterise  Diirer's  engraved  work. 


BOOKS  OF  REFERENCE 

Bartsch,  Adam.    Le  Peintre-graveur.     Vol.  VII.     Vienna  1808,  pp.  5-197 
Hellkr,  Joseph.      Das  Leben  und  die  Werke  A.D.'s.     Bamberg  1827 
Haussmann,    B.      A.D.'s     Kupferstichc,     Radirungen,    Holzschnitte    und 
Zeichnungen.     Hanover  1861 

9 


GREAT  ENGRAVERS 

Passavant,  J.  D.    Le  Peintre-gravcur.    Vol.  III.     Leipzig  1862,  pp.  I44-2  27 
Retberg,  R.  von.     D.'s  Kupferstiche  und  Holzschnitte.     Munich  1871 
Thausing,    Moriz.      D.:    Geschichte    seines    Lebens    und    seiner    Kunst. 

Leipzig  1876  (English  edition,  London  1882) 
Conway,  Sir  W.  M.     The  Literary  Remains  of  A.D.     Cambridge  1889 
Middleton-Wake,   C.  H.     Catalogue  of   the    engraved    work    of  A.D., 

arranged  in  the  order  of  their  execution.     Cambridge  1893 
CusT,  Lionel.     The  Engravings  of  A.D.      London  1894 
KoEHLER,  S.  R.     A  chronological  catalogue  of  the  engravings,  dry-points 

and  etchings  of  A.D. ,  exhibited  at  the  Grolier  Club.  New  York  1897 
DiJRER    Society.     Ten    portfolios    of  reproductions    (with    notes    by    C. 

Dodgson  and  S.  Montagu  Peartree).      London  1898-1908 
DoDGSoN,  Campbell.     Catalogue  of  early  German  and    Flemish   woodcuts 

in  the  British  Museum.      Vol.  I,  1903,  pp.  259-347 
Singer,  H.  W.     Versuch  einer  Diirer  Bibliographic.     Strasburg  1903 
Conway,  (Sir)  W.    Martin.     The  Art  of  A.  D.  ;  a  collection  of  reproduc- 
tions of  his  paintings,  engravings  and  woodcuts,  brought  together  and 
arranged    in    chronological    order.     Catalogue    of  Exhibition    in  the 
Walker  Art  Gallery,  Liverpool  19 10 


10 


A  COMPLETE  CHRONOLOGICAL  LIST 


OF  DURER'S  ENGRAVINGS 

The  conjectural  period  of  the  undated  works  is  for  the  most  part  left  to 
be  inferred  from  their  relative  position  in  the  list.  The  order  of  the 
line-engravings  Is  that  of  a  recent  exhibition  of  Diirer's  work  in  the  British 
Museum.  The  Woodcuts  are  also  aiven  in  the  British  Museum  order,  with 
references  to  Mr.  Campbell  Dodgson's  Official  Catalogue.  The  other 
references  B.,P.,  and  R.,are  to  Bartsch,  Passavant,  and  Retberg  respectively. 
The  Roman  numeral  immediately  following  the  title  of  a  print  refers  to  the 
plate  in  this  volume  on  which  it  is  reproduced 

THE  LINE-ENGRAVINGS,  DRY-POINTS 
AND  ETCHINGS 


(Line-engraving   is   understood 
described  as  dry-p 

The  Ravisher.  B.  92 
The  Holy  Family  with  the  Butter- 
fly.  I.   B.  44 
Five  Soldiers  and  a  Mounted  Turk. 

B.  88 
The  Offer  of  Love.  11.  B.  93 
The  Prodigal  Son.  iii.   B.  28 
St.  Jerome  in  Penitence,   iv.   B.  61 
ThePenance  of  St.  JohnChrysostom. 

B.  63 
The  Virgin  and  Child  on  the  Cres- 
cent. B.  30 
The  Little  Fortune.  B.  78 
The  Little  Courier.   B.  80 
The  Monstrous  Pig.   B.  95 
The  Promenade,  v.   B.  94 
The  Virgin  and  Child  with  a  Mon- 
key. VI.  B.  42 
Four  Naked  Women.   1497.   B.  75 
The  Dream.     B.  76 
The   Rape  of  Amymone.  vii.   B.  71 
The  Great  Hercules  (or  the  Effects 

of  Jealousy),  viii.   B.  y} 
The  Man  of  Sorrows.   B.  20 
St.  Sebastian  tied  to  a  Tree.   B.  5  5 
St.  Sebastian  tied  to  a  Column.   B.  56 
The  Cook  and  his  Wife.  B.  84 


except  where   the  subject  is 
oint  or   etching) 

The  Turkish  Family.   B.  85 
The  Peasant  and  his  Wife.   B.  83 
Three  Peasants  in  Conversation.  B.86 
The  Virgin  and  Child  with  St.  Anne. 

B.  29 
The  Standard-bearer.  B.  87 
The  Lady  and  the  Man-at-Arms.   B. 

82 
Justice.   B.  79 
The  Virgin  Nursing  the  Child.  1503. 

The  Coat  of  Arms   with   a   Skull. 

1503.  IX.   B.  10 1 
The   Coat  of  Arms   with   a   Cock. 

X.  B.  100 
St.  Eustace,  xi.  B.  57. 
The  Great  Fortune,  xii.   B.  77 
Adam  and  Eve.  xiii.    B.  i 
The  Nativity,  xiv.   B.  2 
Apollo  and  Diana,  xv.   B.  68 
The  Satyr  and  his  Family,  xvi.   B. 

69 
The  Little  Horse.  1505.  xvii.  B.  96 
The  Great  Horse.    1505     B.  97 
The  Three  Genii  with  Helmet  and 

Shield.   B.  66 
The  Witch.   B.  6j 

II 


GREAT  ENGRAVERS 

St.  George  standing.   B.  53 

St.    George    on    Horseback.     1 508. 

XVIII.   B.   54 
The  Virgin  with  a  Crown  of  Stars. 

1508.   B.  31 
The  Copper-plate  Passion  (the  fol- 
lowing sixteen  subjects)  : 
The    Man    of    Sorrows,     1509. 

B.  3 
The     Agony     in     the     Garden. 

1508.  B.  4 
The   Betrayal    of    Christ.    1 508. 

Christ     before     Caiaphas.     15 12. 

XIX.  B.  6 
Christ  before  Pilate.    15  12.   B.  7 
The   Scourging  of  Christ.   15 12. 

B.  8 
Christ     crowned    with     Thorns. 

1512.   B. 9 
Christ     shown    to    the    People. 

1512.   B.  10 
Pilate  washing  his  Hands.  1 5 12. 

B.  II 
Christ    bearing   the   Cross.   1512. 

B.  12 

Christ    upon    the    Cross.     1 511. 

B.  13 
The     Lamentation     for     Christ. 

1507.  B.  14 
The  Entombment.   1512.   B.  15 
The    Descent    into    Hell.    15 12. 

B.  16 
The  Resurrection.   1512.  B.  17 
St.    Peter  and   St.   John   healing 

a  Cripple.    15 13.  xx.   B.  18 
Christ  upon  the  Cross.   1508.  B.  24 
The  Virgin  and  Child  with  the  Pear. 

1511.  B.  41 

St.    Jerome    by   the  Willow  Tree. 

Dry-point.  15 12.  xxi.   B.  59 
The    Man  of    Sorrows.     Dry-point. 

15 12.  B.  21 

The  Holy  Family.  Dry-point.  B.  43 
12 


The    Virgin    seated    caressing    the 

Child.   1 5  13.   B.  35 
The    Sudariura    displayed    by    two 

Angels.    15 13.   B.  25 
The  Knight,  Death,  and  the  Devil. 

1 5 13.  XXII.   B.  98 
The    Melancholia.   15 14.  xxiii.   B. 

7+ 
St.   Jerome    in    his    Study.     15 14. 

AXIV.    B.  60 
The  Dancing  Peasants.    1 5 14.  xxv. 

B.  90 
The  Bagpiper.  15  14.  xxvi.  B.  91. 
The  Virgin  on  the  Crescent.    15 14. 

B.  33    . 

The  Virgin  seated  by  a  Town  Wall. 

1 5  14.  XXVII.   B.  40. 
St.  Thomas.   1514.   B.  48 
St.  Paul.   1 514.  B.  50 
The      Man     of     Sorrows      seated. 

Etching.   1 5 15.  B.  22 
The  Agony  in  the  Garden.  Etching. 

1515.  XXVIII.  B.  19 

The  Sudarium  displayed  by  one 
Angel.  Etching.  15 15.  B.  26 

The  Rape  of  a  Young  Woman  (called 
Pluto     and    Proserpine).   Etching. 

1516.  B.  72 

The  Man  in  Despair.  Etching.  B.  70 
The  Virgin  on  the  Crescent,  with 

a  Crown  of  Stars.   1516.   B.  32 
The  Virgin  crowned  by  two  Angels. 

1518.   B.  39 
The  Crucifixion  engraved  on  Gold 

for  a  Sword  Hilt.  B.  23 
The  Cannon.    Etching.   1518.    xxix. 

B.99 
St.  Anthony.   1519.  xxx.  B.  58 
Peasants     at     Market.    1519.    xxxi. 

B.  89 
Albrecht  of  Brandenburg  (called  the 

Little  Cardinal).   1519.   B.  102 
The  Virgin  nursing  the  Child.    1519. 

B.  36 


The  Virgin  crowned  by  one  Angel. 

1520.    B.  37 
The  Virgin  with  the  Child  swaddled. 

1520.  B.  38 

St.  Christopher,  head  turned  to  left. 

1521.  B.  51 

St.  Christopher,  head  turned  to  right. 

1521.  XXXII.   B.  52 
St.  Simon.   1523.   B.  49 
St.  Bartholomew.   1523.   B.  47 


ALBRECHT  DURER 

Albrecht  of  Brandenburg  (called  the 

GreatCardinal).  1523  xxxiii.  B.103 
Frederick     the     Wise,     Elector     of 

Saxony.   1524.   xxxiv,   B.  104 
Wilibald  Pirkheimer.     1524.    xxxv. 

B.  106 
St.  Philip.  1526.  B.  46 
Philip    Melancthon,    1526.    xxxvi. 

B.  105 
Erasmus.   1526.  xxxvii.  B.  107 


THE  WOODCUTS 


St.  Jerome  extracting  a  Thorn  from 
the  Lion's  Foot.  1492.  xxxviii. 
P.  246.   C.  D.  I 

The  Martydom  of  the  Ten  Thou- 
sand Christians.  B.  117.  C.  D.  3 

The  Men's  Bath,  xxxix.  B.  128. 
CD.  4 

Hercules,  xl.   B.  127.   CD. 5 

The  Knight  and  Man-at-arms. 
xLi.  B.  131.  C  D.  6 

The  Martyrdom  of  St.  Catherine  of 
Alexandria.   B.  120.  C  D.  7 

Samson  and  the  Lion.  xlii.  B.  2. 
CD.  8 

The  Holy  Family  with  the  three 
Hares.  C  102.  C  D.  9 

The  Apocalypse,  xuii  and  xnv.  B. 
60-75.  C.  D,  10-14,  113.  Fifteen 
cuts,  about  1498,  and  a  title-cut 
added  for  the  first  edition  in  book 
form  of  15 II.  This  and  similar 
editions  of  the  other  series  {Great  and 
Little  Passions  and  Life  of  the  Firgin) 
show  text  on  the  back  of  the  impres- 
sions 

The  Great  Passion,  xlv  and  xlvi. 
B.  4-15.  C.  D.  15-21,  102  105, 
112.  Eleven  cuts,  seven  dating  about 
1497-1500,  four   in  1510,  and  a 


title-cut   added  for  the  first  edition 

in  book  form,  1511 
The     Crucifixion,    with    the    three 

Crosses.  B.  59.  C.  D.  26 
The  Holy  Family  with  two  Angels, 

in  a  Hall.    B.  100.  C  D.  27 
The  Holy  Family  with  five  Angels, 

in  a   Landscape.     B.    99.    C.  D. 

28 
The  Ecstasy  of  St.  Mary  Magdalene. 

B.  121.  C  D.  29 
St.  John  the   Baptist  and  St.  Onu- 

phrius.  B.  112.   C.  D.  30 
The  Visit  of  St.  Anthony  to  St.  Paul 

the  Hermit.   B.  107.   C  D.  31 
St.  Christopher  with  the  Birds.   B. 

104.  C  D.  32 
St.   Francis  receiving  the    Stigmata. 

B.   no.  C.  D.  35 
St.  Stephen,  St.  Sixtus,  and  St.  Law- 
rence.  B.  108.  C  D.  34 
St.    Nicholas,    St.    Ulrich,    and   St. 

Erasmus.  B.  118.  C  D.  35 
St.  George  and  the  Dragon.  B.  iii. 

CD.  36 
The  Life  of  the    Virgin,    xlvii-li. 

B.  76-95.  CD.  37-53,  106,  107, 

III.  Nineteen  cuts,  seventeen  dating 

1504-5,  two  in  15  10,  and  a  title-cut 

13 


GREAT  ENGRAVERS 

added  for  the  first  edition   in  book 
form,  1 5 1 1 
The    Six    "  Knots "  :     patterns    for 

embroidery  or  lace.   B.  140-145. 

CD.  54-59 
The  Agony  in  the  Garden.  B.  54. 

CD.  60.  Probably  intended  for  the 

"  Little    Passion^''  being  superseded 

by  another  version 
The  Little  Passion,   lii-liv.  B.  16- 

52.  CD.  61-96,   no.   Thirty-six 

cuts,  about  I  508-1510,  and  a  title- 
cut  for  edition  in  book  form,  15  1 1. 

Jll  the  ori^nal  wood-blocks  of  this 

series  except  B.  16  and  21  are  now 

in  the  Tiiitish  Museum 
Christ  on    the   Cros?,  between    the 

Virgin  and  St.  John.   B.  55.  CD. 

97.    This  and  the  ttvo  follozving  cuts 

printed  on  broadsides  zvith  poems  by 

Dlirer,  1  510 
Death  and  the  Soldier.  B.132.  CD. 

98 
The     Schoolmaster,    lv.     B.     133. 

CD.  99 
The  Penitent.   1510.   B.  1 19.   CD. 

100 
The   Arms    of  Michel   Behaim.  B. 

159.  CD.  loi 
The    Beheading    of   St.    John     the 

Baptist.   1510.  B,  125.  CD.  108 
The  Head  of  St.  John  the  Baptist 

brought  to  Herod.    1511.    B.  126. 

CD.  109 
The    Death    of  Abel.   1511.  B.    i. 

CD.  114 
The  Adoration  of  the  Magi.   151 1. 

B.  3.  CD.  115 
The    Trinity.    151I.    lvi.    B.    122. 

CD.  116 
The  Man  of  St.  Gregory.   151 1.  B. 

123.  CD.  117 
St.    Jerome  in  his  Study.   1511.   B. 

114.  CD.  118 

14 


The  Holy  Family  with  St.  Joachim 
and  St.  Anne.  15 11.  lvii.  B.  96. 
CD.  119 

The  Holy  Family  with  Saints  and 
Angels.  1511.  LViii.  B.  97.  CD. 
120. 

St.  Christopher.  151I.  lix.  B.  103. 
CD.  121. 

St.  Jerome  in  a  Cave.  1512.  B.  I13. 
CD.  122 

The  Virgin  and  Child  in  Swaddling 
Clothes.    P.    117.  CD.    123 

The  Rhinoceros.  15 15.  lx.  B. 
316.  CD.  125. 

The  Terrestrial  Globe  —  Eastern 
Hemisphere.  P.  201.  CD.  126. 
This  and  the  two  follozving  are  illus- 
trations to  geographical  and  astro- 
nomical zcorks  by  Stabius 

The  Celestial  Globe — Northern 
Hemisphere.  B.  151.  CD. 
127 

The  Celestial  Globe  —  Southern 
Hemisphere.   B.  152.  CD.  128 

The  Austrian  Saints.  B.  116.  CD. 
129 

The  Triumphal  Arch  of  the 
Emperor  Maximilian.  151 5.  B. 
138.  CD.  130.  Produced  in  colla- 
boration with  Springinklee,  Traut, 
and  Altdorfer,  the  literary  design 
being  in  the  hands  of  Stabius.  The 
whole  illustrates  the  geneahgy  and 
exploits  of  Maximilian 

The  Freydal  woodcuts.  151 6.  P. 
288-292.  CD.  1 31-135.  Five 
blocks  of  a  series  projected  by  Maxi- 
milian ("  Freydal'^)  for  an  illus- 
trated work  to  celebrate  his  jousts, 
masquerades,  etc. 

The  Burgundian  Marriage,  or  Small 
Triumphal  Car.  R.  218.  C  D. 
1 36.  From  the  first  edition  (1526) 
of  a  large  series  of  cuts  known- as  the 


Triumphal  Procession  of  Maximilian 

{the  other  subjects  not  being  by  DUrer) 

The     Book-plite    of     Hieronymus 

Ebner.   1516.    B.  app.  45.   C.   D. 

137 
Christ    on   the  Cross,  between   the 

Virgin  and  St.  John.   1516.  B.  56. 

C.  D.  138 
The  Virgin  crowned  by  two  Angels. 

1518.  B.  loi.  C.  D.  139 
Portrait    of    Maximilian    I.     1518, 

Lxi.  B.  154.  C.  D.  140. 
The  Arms  of  Rogendorf.    1520.    R. 

239 
The  Arms  of  Lorenz  Staiber.    1520. 

R,  240 
The  Arms  of  Johann   Tscherte.    B. 

170.  C.  D.  143 
The  Arms  of  the   Empire    and    of 

Nuremberg.   1521.  B.  162.  CD. 

144 
The  Great  Triumphal  Car  of   the 

Emperor    Maximilian.    1522.    B. 

139.  C.  D.  145 
Portrait  of  Ulrich  Varnbuhler.  1522. 

Lxii.  B.  155.    C.  D.  146. 
Diirer's  Arms.    1523.   lxiii.  B.  160. 

C.  D.  147 
The  Last    Supper.    1523.   lxiv.    B. 

53.  CD.  148. 


ALBRECHT  DURER 

The  Armillary  Sphere.  15  25.  P.  202. 
In  the  Strasburg  Ptolemy  o/i^z^ 

An  Artist  drawing  a  Seated  Man,  B. 
1 46.  C  D.  I  50.  This  and  the  thret 
following  are  the  principal  illustrations 
in  DUrers  book  on  Measurement 
("  Underweysun*  der  Messung," 
1525  and  1538),  B.  148  and  149 
not  appearing  until  the  second  edition 

An    Artist    drawing    a    Lute.  Lxv. 

B.  147.  C  D.  151. 
An  Artist  drawing  a  Pitcher.   B.  148. 

C  D.  152 
An    artist   drawing   from    a    Female 

Model.  B.  149.  C  D.  153 
The    Holy    Family.     1526.     B.  98. 

C  D.  154 
The  Arms  of  Ferdinand   I,  King  of 

Hungary  and   Bohemia.    P.  210. 

CD.  155.     This  and  the  following 

are  illustrations  for  DUrer^s  book  on 

F(jr/i)ff/7//0K("ETLICHEUNDERRICHT 
ZU  BEFESTIGUNG  DER  StETT  ScHLOSS 
UND   FlECKE.V,"    I  527) 

Illustrations  in  Diirer's  book  on  the 
Proportions  of  the  Human 
Figure  ("  Vier  Bucher  von 
Menschlicher  Proportion," 
1528) 


THE  SCHOOL  OF  DURER 

Portrait  of  Diirer.    B.  156.  C  D.,  School  of  Durer,  32.   Frontispiece 
The    Pirkheimcr    Border.      P.   205.      C.   D.,    School   of  Diirer,    33,    and 
Springinklee,  i.      Title-page  border.      First  used  in   Plutarch,  Dc  his 
qui  tarde  a  numine  corripiuntur  libellus,  Nuremberg  1 5  i  3 .     Attributed  by 
C.  D.  to  Springinklee 


I.  THE  HOLY  FAMILY  WITH  THE  BUTTERFLY.     B.  44 


A.D.   I 


11.  THE  OFFER  OF  LOVE.    B.  93 


III.  THE  PRODIGAL  SON.    B.  28 


IV.  ST.  JEROME  IN  PENITENCE.    B.  6i 


V.  THE  PROMENADE.    B.  94 


VI.  THE  VIRGIN  AND  CHILD  WITH  A  MONKEY.    B.  42 


VII.    rUE  RAPE  OF  AMYMONE.    li.  71 


VIII.  THE  GREAT  HERCULES.     B.  73 


IX.  THE  COAT  OF  ARMS  WITH  A  SKULL.    B.  loi 


X.  THE  COAT  0¥  ARMS  WITH  A  COCK.     B.  loo 


XI.  ST.  EUSTACE.    B.  57 


XII.  THE  GREAT  FORTUNE.     B.  -]-] 


XIII.  ADAM  AND  EVE.    B.  i 


XIV.  THE  NATIVITY.    B.  2 


XV.  APOLLO  AND  DIANA.    B.  68 


XVI.  TOE  SATYR- AND  HIS  FAMILY.    B.  69 


XVII.  'J-HE  LITl'LE  HORSE.    B.    96 


A  D.    3 


XVIII.  ST.  GEORGE  ON  HORSEBACK.    B.  54 


XIX.  CHRIST  BEFORE  CAIAPHAS  (FROM  THE  COPPER-PLA'FE 
PASSION).    B.  6 


1  .ynriT?  •'■..-' :. 

-'rA-V\« 

^-.  ■  : 

it, 

1 

' i^'S          .    J^ 

tjj^Mfe'^ 

r.^^-^ 

.^B>"X                     ''■     "^^_    '    ! 

^^   ■^K'^«- 

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s                4  - 

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1 

V 

.:.^iiS 

?«=*• 

j^g^^^^^^'*    -. 

XX.  ST.  PETER  AND    ST.  JOHN  HEALING  A  CRIPPLE  (FROM 
THE  COPPER-PLATE  PASSION).    B.  i8 


XXI.  ST.  JKROMF.  BY  THF  WTTJ.OW  TREE.    DR^'-POTNT.     B.  59 


XXII.  THE  KNIGHT,  DFATH  AND  THE  DEVIL.    B.  98 


XXTIT.  THE  MET.ANCHOTJA.    B.  74 


XXIV.  ST.  JEROME  IN  HIS  STUDY.    B.  60 


XXVI.  THE  BAGPIPER.    B.  91 

XXV.  THE  DANCING  PEASANTS.    B.  90 


A..m  4 


XXVIII.  THE  AGONY  IN  THE  GARDEN.     ETCHING  ON  IRON. 
B.  19 


XXIX.  THE  CANNON.    ETCHING  ON  IRON.    B.  99 


XXX.  ST.  ANTHONY.    B.  58 


XXXI.  PEASANTS  AT  MARKET.  B.  89 


XXXIt.  ST.  CHRISTOPHER     B.  52 


XXXIII.  ALBRECHT  OF  BRANDENBURG.    B.  103 


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XXXIV.  FREDERICK  THE  WISE,  ELECTOR  OF  SAXONY.    B.  104 


■CHRISTO    -   6AGRV.M. 


•  ILLE-pEi  VERBO  MAGNA.  PIETATE  •  FAVEBAT  • 
•  rERPETVA  •  DIGMVS  --poSTERiTATECOLl- 

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A.D.   5 


XXXV.  WILIBALD  PIRKHEIMER.     13.  106 


BiLIBALDipiRKEYjWHEKi  EFFIciES 

AETATi^SVAEANNO  L  in  •  1 

VtVIT\T^'  INGEKI O  CAEl ERAAVORTIS  - 
•ERYKT-  ' 

•  A\  .  D  OC  >C    •   I  V  t 


XXXVI.  PHILIP  MELANCTHON.    B.  105 


:^?vir3 


IVENTIS  Tor\'irX>YKEKlVS •  ORA  PHI LIPPI 

tWeNTEAV-NON  POTViTPlNGERE-DOCTA 

AVANV5 


/ 


XXXVIT.  ERASMUS.    B.  107 


[MaGO-  ERASMIROTERODA 
Mi  •  AB   ALBERTO  •  DVRERO-AL 
VIVAM.-  EFFiGtEMDELlNlATA-" 


[THNKPElTTa-TA-SYrrPAM. 
MATA-^SEI 


XXXVIII.  ST.  JEROME  EXTRACTING  A  THORN  FROM  ^I'HE 
LION'S  FOO'I'.    r.  246 


XXXIX.  THE  MEN'S  BATH.    B.  128 


XL.  HERCUI.es.    B.  127 


XLI.  THE  KNIGHT  AND  MAN-AT-ARMS.    15.  131 


XLII.  SAMSON  AND  THE  LION.    ]}.  2 


A.D.  6 


XLIII.  THE  RIDERS  ON  THE  FOUR  HORSES  (FROM  THE 
APOCALYPSE).    B.  64 


XLR^  ST.  MICHAEL  AND  THE  DRAGON  (FROM  THE 
APOCALYPSE).    B.  72 


XLV.  THE  TAKING  OF  CHRIST  (FROM  THF,  GREAT  PASSION). 
Ji.7 


XLVI.  THE  Dl'SCIiN'l'  INTO  HELL  (FROM  THE  GKEAl' 
PASSION).    B.  14. 


XLVII.  THE  VIRGIN  AND  CHILD  ON  A  CRESCENT  (TlTEE-CUl 
TO  T?IE  ITFE  OF  THE  VIRGIN).    B.  -jd 


XL\  HI.  THE  MARRIAGE  OF  THE  MRGIN  (FROM  THE  LIFE  OF 
THE  VIRGIN).    B.  8;j 


XLIX.  THE  VISITATION  (FROM  THE  TJFE  OF  'J'HE  VIRGIN). 
B.  84 


-affl^'^. 


L.  THE  REPOSE  IN  EGYPT  (FROM  TEIE  LIFE  OF  THE  VIRGIN). 
B.  90 


A.D    f 


LII.  THE  NATIVITY  (FROM  THE  LITTLE  PASSION).    B.  20 


LIT  I.  THE  DESCENT  FROM  THE  CROSS  (FROM  THE  LIT'lTE 
PASSION).    B.  42 


IJV.  CHRIST  APPEARING  TO  MARY  MAGDALENE  (FROM  l^HE 
LITTLE  PASSION).     15.  47 


L\'.  THE  SCHOOLMASTER.    B.  133 


LVI.  THE  TRINITY.    B.  122 


LVII.  THE  HOLY  FAMILY  WITH  ST.  JOACHIM  AND  ST.  ANNE. 
15.  96 


LVIII.  TOE  HOLY  FAMILY  WITH  SAINTS  AND  ANGELS.    B.  97 


AD.  8 


LTX.  ST.  ClIRTSTOPHER.    B.  103 


LX.  THE  RlilNOCEROS.    K.  316 


LXI.  MAXIMILIAN  I.    B.  154 


Imptrator  &x  Diuus  MaximiliaTius 
Pius  Fdix  Augulliis 


«" 


LXll.  ULRICH  VARNBUHLER.    B.  155  , 


YLllICHVsVAR.NBVUIlI^.'MnxXir^j 


LXIII.  DURER'S  ARMS.    B.  160 


LXIV.  THE  LAST  SUPPER.    B. 


LXV.  AN  ARTIST  DR-\WING  A  LUTE.    B.  147 


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